Exhibitions and Events-News- CAFA Art Museum

Exhibitions and Events－News

Focusing on important exhibition and activity info of CAFA Art Museum, and updates the latest news of international museum industry.

: This miniature museum exhibition will show tiny works by famous artists

2022-02-17

In what may be the tiniest museum show ever, England’s Pallant House Gallery will showcase work this summer by more than 30 of Britain’s most famous artists, including Damien Hirst, Rachel Whiteread, Maggi Hambling and Grayson Perry.Titled "Masterpieces in Miniature", the show invited these artists to create tiny version of their original works - all ranging from the size of a pound coin to no larger than 20cm - for an architectural model gallery.The works span all media, from Damien Hirst’s half-inch spin painting to Edmund de Waal’s tiny ceramic sculpture atop a petite pedestal. Even John Akomfrah’s stirring film installations have been compressed into a photographic triptych that fits inside one lilliputian gallery.The dollhouse-sized space will be the third model gallery in the Pallant’s collection, following the "Thirty Four Gallery" created in 1934 and "The Model Art Gallery 2000" that was commissioned by the Pallant House Gallery to mark the new millennium. The trio of model galleries comprise a micro capsule of more than 80 years of British art, encompassing artists from the Bloomsbury Group, the Pop art era, and the Young British Artists of the 1990s.The collaborative project is "filled with optimism and hope for the future: about creating something positive out of all this disruption and uncertainty," said Pallant House Gallery director Simon Martin in a statement. “All the usual complex considerations about curation and display have come into play, about different media and forms of art including painting, drawing, sculpture, site-specific installation, and photography.” The Pallant also has plans for the exhibition to travel to other venues in the future.Source | artnet NewsAuthor | Caroline Goldstein
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: V&A Dundee closes to general public to enable Sensory Friendly Days

2022-02-08

Around one in every five Scots define themselves as living with a disability, but according to a research conducted in 2020 by Kids in Museums, Autism in Museums and SEND in Museums, 71% of families with children who have special educational needs and disabilities felt museums were too crowded to visit.After its opening in 2018, V&A Dundee has held Sensory Friendly Morning sessions, scheduled between 7:30 and 10am, and evening sessions for people who have anxiety about crowded spaces, but it later found out that the scheduling either excluded people who can’t rise early in the morning or added cleaning pressure to the staff. The museum eventually decided to close to general public for one day, and open to neurodiverse people specially. V&A Dundee was welcoming around 7,000 people per day at its peak before pandemic, and according to Claire Madge, founder of Autism in Museums, it was actually the pandemic that made such daily events possible, as museums were expecting fewer regular visitors due to social distancing demands.The Sensory Friendly Days run between 11am and 4pm. The museum takes precautions to avoid any queues or loud tannoy announcements and makes certain all staff on shift have received a high standard of training in order to provide the support visitors may need. What’s more, it also guarantees equipment of high calibre available on site - V&A Dundee co-developed new sensory backpacks with local non-profit PAMIS, which varies according to each exhibition and includes a selection of objects that both meet the needs of people who will be interacting with them and encourage people to directly engage with the exhibits. For example, for the exhibition "Night Fever: Designing Club Culture", the museum had transparent neon purple, green and orange backpacks prepared, so that users may not fear about reaching into a bag of unknown objects.“It is vital that we understand the distinctive needs of people who are often excluded from society,” notes PAMIS volunteer Rachel Persheyeva. “By focusing on these needs, and working to remove barriers in the lives of people with profound and multiple learning disabilities, we can help them to achieve equal access to society.”The current model is run under the museum’s charity learning program, and although such events don’t usually generate income, the museum’s access and inclusion specialists hope that the initiative is perpetuated regardless of its financial impact.Source | Museums+Heritage
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: Museum uses artificial intelligence to watch visitors

2022-01-14

The Bologna Museum in northern Italy is turning its gaze onto art lovers with the help of AI.
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: 3D scans to accompany British Museum spotlight tour

2021-12-29

Following the exhibition "Troy: myth and reality" shown at British Museum November 2019 to March 2020, it will travel to Reading, Surrey and Dundee from September 2021 to August 2022. The tour will be featuring 3D scans of objects that visitors can access through mobile devices in-situ or at home.Four objects from the exhibition were 3D scanned. The British Museum has collaborated with Sketchfab, a platform sharing 3D, virtual and augmented reality content, to provide close access to the objects. These include and Etruscan urn that portrays Helen, the Greek queen abducted by the Trojan prince Paris, and an Athenian amphora depicting Achilles exacting revenge on the Trojan prince Hector after the death of his lover Patroclus.“Following the success of the Troy exhibition at the British Museum, it is very gratifying to be able to bring an exciting selection of related objects to audiences around the UK thanks to the Museum’s National Programmes,” said Victoria Donnellan, the co-curator of the exhibition. “The ancient story of Helen and Achilles is a fascinating one and I’m so pleased we can portray the various facets of beauty and heroism through these rich objects, especially with the 3D offering."Thomas Flynn, the cultural heritage lead at Sketchfab, said: “This latest collaboration for Troy: beauty and heroism is a wonderful example of how online 3D can help cultural organisations reach and engage with national and international audiences in modern and forward-thinking ways.”Source | Museums AssociationAuthor | Rebecca Atkinson
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: Covid has improved disabled people’s engagement with museums, study finds

2021-12-23

Cultural development organization Screen South and Accentuate consultancy launched a new report that offers new insights into disabled people’s engagement with museums as both workers and audiences.The report, Curating for Change: Disabled People Leading in Museums, explores the current landscape of museum engagement for D/deaf, disabled and neurodivergent people following a consultation involving surveys, phone conversations and workshops within 170 disability-focused groups and individuals.A key finding was that almost all the consultation participants thought that the Covid pandemic had presented a positive opportunity in terms of flexible remote working, interview practices and digital engagement for audiences. For disabled museum workers, their flexible working requests are taken more seriously now when previously such requests had been denied. Working remotely online means lower costs of remote training, an easing of the monetary and physical burden of travel, which are to the benefit of disabled museum workers, who are more likely to be economically disadvantaged and impacted by poor access provision when traveling.As audiences, however, D/deaf, disabled and neurodivergent individuals and groups noted a lack of representation within museum collections, exhibitions and events. Disability history, stories and collections are “rarely shared” in museums, and are often interpreted by non-disabled staff when included. Participants also expressed a desire to work more closely with museums to co-produce content and outputs.Accentuate also worked with 16 partner museums, including the Imperial War Museum and Museum of Liverpool. All museums showed interest in becoming part of a network of organizations supportive of disadvantaged staff and audiences. However, the consultation also identified some of the museums’ barriers to engage disabled people, such as "a lack of specialist contacts" and "a lack of understanding and/or skills to provide support".Other than providing survey results, the report also makes recommendations for museum to make their recruitment process more accessible to disabled people, and tips of working with disabled people as audiences, such as reaching out to local disabled people’s groups, valuing disabled people as experts, and considering how disability heritage narratives can be included in new exhibitions or events.Source | Museums AssociationAuthor | Francesca Collins
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: Can the arts help drive vaccinations? Yes, according to the CDC

2021-08-30

As Covid-19 cases continue to rise in the US, governments and health authorities are increasing their efforts to raise vaccination rates. Apart from issuing mandates and offering paid incentives, the Centers for Disease Control and Prevention (CDC) is encouraging cross-sectors collaboration between health and culture.The agency has launched a comprehensive resource page for health departments seeking to partner with artists and arts organizations. The toolkit includes two field guides on developing sustainable and equitable programming, as well as a repository that includes public health practice examples that use arts and culture-based approaches to increase Covid-19 vaccine confidence.Nakul Talgeri, “Vaccines for Victory” (via Amplifier.org)How can art be an effective catalyst for immunization, especially when traditional messaging has fallen short? Part of it has to do with different forms of learning, says Jill Sonke, director of the UF Center for Arts in Medicine and senior adviser to the CDC’s Vaccine Confidence and Demand Team."The arts attract attention, they’re interesting, they facilitate experiences that are memorable and can convey information in ways that are not just more understandable, but more personally relevant — through narrative, characters, images, music, and cultural practices and traditions,” Sonke told Hyperallergic.Such approaches can be especially beneficial in communities where historical and ongoing injustices are driving distrust of vaccines. According to the field guides that Sonke helped author, these "culture-bearers" could facilitate opportunities for the groups to come together in a non-threatening way. "It’s not all about persuasion, it’s about people being given every opportunity to make their own decisions."Source | HyperallergicAuthor | Valentina Di Liscia
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: You can now report stolen art using Interpol’s new app

2021-07-02

A new mobile app launched by Interpol, the global criminal police organization, aims to help identify and track stolen art and cultural property. The ID-Art app, free to download from Apple Store and Google Play Store, provides real-time access to the agency’s Stolen Works of Art database, an international archive of more than 52,000 objects verified to be missing along with images, descriptions, and certified police reports.Sophie Calle, What Do You See? (Rembrandt, A Lady and Gentleman in Black) (detail), 2013. ©Sophie Calle / Artist Rights Society, New YorkUsers can browse objects reported stolen, such as Johannes Vermeer’s "The Concert" (1663-1666), stolen during the infamous Gardner Museum heist in 1990. They may also conduct reverse image searches with their own photos to determine whether a work they own or discover has shady provenance. They can upload and export objects for law enforcement in case of theft, and if there’s a natural disaster or conflict, they can also report cultural sites at risk to the Interpol.In April 2021, it was reported that two officers from Italy’s Carabinieri identified an ancient Roman marble stolen a decade ago from an archaeological site in Italy, during an off-duty tour in Brussel. Their suspicions were confirmed using Interpol’s database, and the statue was returned to Italy by Belgian authorities.Source | HyperallergicAuthor | Valentina Di Liscia
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: How the Museum of Chinese in America emerged from a fire and pandemic lockdown

2021-06-25

On an evening of January 2020, a five-alarm fire broke out at 70 Mulberry Street in New York, in a historic building in Chinatown that housed 85,000 objects in the collection of the Museum of Chinese in America (MOCA), a small institution located a few blocks away. The blaze posed an existential threat to the institution’s 40-year effort to document and preserve the experiences and achievements of people of Chinese descent in the United States, with photographs, textiles and garments, business signs, and movie posters among the many items endangered.In March, the museum staff completed the six-week-long retrieval process and discovered that 95 percent of the holdings had survived, despite some water damage. But then came the coronavirus lockdown, which could be disastrous for a small museum like MOCA, which lives by an annual budget of $2.8 million. Subtracting from hundreds of thousands of dollars in rent, it leaves little room for experimentation or expansion even in the good time.But the museum saw a silver lining in the fall of 2020, when they received a $3.1 million grant as part of the Ford Foundation’s America’s Cultural Treasures initiative, among 20 institutions across the US. According to MOCA’s president Nancy Yao Maasbach, they would use $100,000 from the grant for technical projects, such as revamp of its website, and the remaining $3 million for conservation of the objects harmed in the fire and offset in part the museum’s pandemic-related losses. The grant will also enable the museum to expand access to its educational programs digitally, so as to reach a national audience.Recently, the museum also formed a consortium with 28 other Chinese American historical museums around the US. While the museum industry in the US is still learning to tell local history, the partnership would create wonderful national repository of shared resources for exhibitions and other initiatives.The fire has already become a part of MOCA’s history, and as part of a partnership with Google Arts & Culture, the museum opened a virtual exhibition titled “Trial by Fire: The Race to Save 200 Years of Chinese American History” in January, one year after the blaze. The exhibition features news clips, photos, videos pulled from social media, and more records that trace the fire’s impact and the museum’s retrieval and recovery process. At the same time, the museum added images of more than 200 objects from its collection to the platform. In the future, when the health measures permit, the museum also hopes to have conservation students engage in hands-on work with fire-damaged items.In addition to new programs and other opportunities the America’s Cultural Treasures grant will afford, Maasbach and her team are making a pledge to remember the museum’s past struggles, resist tokenization, and advocate for under-recognized artists and cultural organizations.“I think our role is now to be responsible—I feel like a chosen one,” she said. “The fear I have is that we forget where we came from, and that’s something we’re holding each other accountable for. You’ve got to work harder to create equity.”Source | ARTnewsAuthor | Claire Selvin
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: Sign of the Times: Museums Become Vaccine Clinics

2021-06-18

During the COVID pandemic, many museums have stepped outside their comfort zones, becoming everything from food distributors to protest relief stations. Now, museums from around the world have started to offer their spaces as vaccination sites, joining the effort to finally mitigate the devastating effects of the pandemic. The transformation of museums into vaccine clinics not only showed a new change in the museum landscape characteristic of this special time, but also, with this socially responsible gesture, museums are involved into the narrative of COVID pandemic on a new level.American Museum of Natural HistoryNew York City gained an instant new hotspot when the American Museum of Natural History announced it would turn the underside of its famous blue whale model into a vaccine site, adorning the massive sea creature with a custom-made bandage fit to scale. All takers are also eligible for free admission to the museum’s galleries for them and up to three friends. Negro Leagues Baseball MuseumThe Negro Leagues Baseball Museum in Kansas City, Missouri, has hosted a weekly vaccine clinic on its premises since March, in partnership with the Hy-Vee supermarket chain. The museum’s president Bob Kendrick said that he sees the clinic as “a sign of progress and optimism and hope,” the same values at the root of the story the museum tells. He hopes the clinic helps chip away at vaccine hesitancy in the Black community.Castello di RivoliContemporary art museum Castello di Rivoli in Turin, Italy, has repurposed an extended installation by artist Claudia Comte, featuring hypnotic black-and-white wall paintings and a lulling soundtrack by composer Egon Elliut, into a vaccination center run by local health authorities. The museum’s director, Carolyn Christov-Bakargiev, calls the exhibition a “perfect” backdrop for the unexpected activation.An installation by Claudia Comte, whose Castello di Rivoli exhibition became a makeshift vaccine clinic. Photo credit: usestangerines on Flickr. London Science MuseumLondon’s Science Museum just reopened recently after its year-long closure since the start of the pandemic. As its first public event after reopening, it features a sweeping COVID-themed exhibition, as well as a gallery made into a vaccine clinic. Its director Ian Blatchford said, "Uniquely, our museum can both tell the story of how vaccination has saved millions of lives, and also play a part in ensuring vaccines protect the nation from COVID-19."Source | American Alliance of MuseumsAuthor | Joseph O'Neill & Rachel Lee
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: The Art of London “Augmented Gallery” safely shows art through AR technology

2021-06-04

Every year around May, it is traditionally the start-of-season in London’s West End. In 2021, it has been hampered by shuttered venues and fewer people traveling, due to the spread of coronavirus.But thanks to augmented reality, galleries could put the art outside for people to see. The National Gallery, National Portrait Gallery, Royal Academy of Arts and Sky Arts recently took part in an initiative newly launched by the Heart of London Business Alliance, an organization of London businesses and institutions that promote commerce in the area through media campaigns. Called Art of London, it features a free, mile-long, twenty-stop walking tour which showcases works from these institutions in London’s West End.The tour consists of QR codes in frames made to fit the size of the physical artworks. Through a free app, the codes bring up the painting as well as audio commentary made by educators and curators from major British galleries. They not only introduce the background behind the works, but also give a context of the materials used to create the work - giving a bit of physical quality to the virtual experience.The organizations that joined the Augmented Gallery provide visitors a wide range of artistic representation. Artists represented range from Pierre Seurat to Tracey Emin. Subjects of portraits range from William Shakespeare to Malala Yousafzai.The locations where the works are shown were carefully chosen to present the works in impactful ways while still being accessible. They need to create the right aesthetic environment and mood for each specific work, while making them accessible for the general public."Attracting the public back to the area safely and responsibly has never been more important," Heart of London Business Alliance Chief Executive Ros Morgan said, "AR allows for a close-up encounter with great works of art out on the street, but more importantly, it allows for the street itself to become a canvas." Rather than another example of how augmented reality helps people adjust to life during the pandemic, it shows the possibility of augmented reality helping us look towards an ever-approaching post-pandemic future.Source | AR PostAuthor | Jon Jaehnig
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CAFA Art Museum Publication Authorization Agreement

I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.

CAFA Art Museum Event Safety Disclaimer

Article I

This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.

Article II

Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.

Article V

During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.

Article VI

Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.

CAFA Art Museum Portraiture Rights Licensing Agreement

According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.

Group Visit Agreement
and Statement

CAFA Art Museum Publication Authorization Agreement

CAFA Art Museum Event Safety Disclaimer

Article I

Article II

Article III

Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.

Article IV

Article V

Article VI

CAFA Art Museum Portraiture Rights Licensing Agreement

I. General Provisions

(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.

(3) Party B will photograph all CAFA Public Education Department events for Party A.

II. Content, Forms of Use, and Geographical Scope of Use

(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.

(3) Geographical Scope of Use

The applicable geographic scope is global.

The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).

III. Term of Portraiture Rights Use

Use in perpetuity.

IV. Licensing Fees

The fees for images bearing Party A’s likeness will be undertaken by Party B.

After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.

Additional Terms

(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.

(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.

I have carefully read and agree to the above provisions.